A Film Review Of The Pinjar English Literature Essay

‘Pinjar ‘ , produced by Lucky Star ‘s Entertainment Ltd. and directed by Dr. Chandraprakash Dwivedi, is a film set in the Indian subcontinent where the battle for freedom from the British colonialists is at its flood tide. The movie is based on Amrita Pritam ‘s novel of the same name and is a winning effort at animating history.

‘Pinjar ‘ ( intending ‘cage ‘ or ‘skeleton ‘ ) revolves around the narrative of Puro, a immature miss from a Hindu household life in Amritsar. In hunt of a suited bridegroom for their girl, the household journeys to their small town of Chattovani where they settle the matrimony of Puro with Ramchand, who is from the small town of Rattovall. As per tradition, an exchange must take topographic point and so, Puro ‘s brother is engaged to Ramchand ‘s sister, Lajjo.

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All is bliss for Puro until an unfortunate incident changes her life everlastingly, when she is tragically kidnapped by Rashid, a Muslim adult male who carries her away on his Equus caballus while she is on a trip to the Fieldss. Puro, hysterical and frenetic, begs Rashid to return her to her overwrought household. Rashid explains that Puro ‘s abduction was a consequence of an hereditary household difference. Puro ‘s ascendants had rendered the Muslim household homeless over a loan default and kidnapped a adult female from their house to disgrace them. Rashid was made to curse upon the Holy Quran by his uncle and cousins to revenge their family and recover their award. He tells Puro that her household will decline to accept her now and henceforth, she will ever stay an castaway. He confesses that he is contrite but incapacitated, and that he has loved Puro since the first minute he laid eyes on her. Puro refuses to believe him and escapes back to her house one dark where her hopes are shattered. It is an highly emotional sight as her ain parents tell her it is best if she returns else the Muslims would shack to butchering their whole household. Furthermore, she has spent the dark in another adult male ‘s house. Nothing can alter the fact that she is now a discoloration on their award. Hence, Puro returns to Rashid.

Back in Rattovall, Ramchand is offered Rajjo ‘s ( Puro ‘s sister ) manus in matrimony but he refuses on ethical evidences and so Rajjo is married to Ramchand ‘s cousin. Puro ‘s brother Trilok marries Lajjo as promised. Meanwhile Rashid marries Puro and takes her off to populate in Sakkadali. There, she miscarries Rashid ‘s kid and leads a suffering life. Her arm is forcefully tattooed with the Muslim name ‘Hamida ‘ . She continues to dream of her fianc & A ; eacute ; Ramchand and even tearfully encounters him in the Fieldss on a trip back to the small town. With clip she besides learns that deep down Rashid is a good adult male and that his penitence is echt. At this point political relations takes a bend as the divider is announced and riots interrupt out all over. Ramchand ‘s small town falls in Pakistan and he and his household, excepting a misplaced male parent, are forced to fall in a refugee group traveling to India. On the manner nevertheless, the migrators are attacked by a pack of hoods and Lajjo, Ramchand ‘s sister is tragically kidnapped. The group proceeds to settle for a dark near Sakkadali. Puro visits the cantonment and meets Ramchand who is distressed and asks for her to look for Lajjo. Puro promises non to allow him down.

Puro travels from house to house in Rattovall, feigning to be a saleswoman. Finally she manages to happen Lajjo, held confined in her ain house by Muslims. With the aid of Rashid she manages to deliver her and the flood tide of the film approaches as Ramchand and Trilok both await at the Wagah boundary line to take Lajjo with them to Hindustan. There is a tearful reunion of two braces of brother and sister. Trilok embraces Puro and presents her with the pick of returning with him to her relations, since Ramchand is ready to accept her. It is here that Puro, defying the chance of a reunion with her household, chooses to stay with Rashid and bids her brother farewell everlastingly.

The film underlines a big figure of issues in a non colored manner, utilizing the divider subject in its entireness. It depicts the convulsion ensuing from the divider, where 1000000s of households were displaced and countless adult females were kidnapped and raped. Hindu-Muslim dealingss around the probationary period circling 1947 are a main topic of the movie. The big difference of sentiment sing the divider is mostly depicted. ‘Pinjar ‘ shows that many Hindus and Muslims truly believed that they were a stronger force together and that the divider was an effort to disassociate the Indians. Sing the period in which the film has been set, one besides realizes that the communal hate was mostly a manifestation of the patriarchate and had roots excessively deep in the heads of both Hindu and Muslim work forces. The hostility was hereditary and was a affair of award, more for the male community. It was the work forces of Rashid ‘s household who considered it a affair of extreme importance to revenge their ascendants and it was Puro ‘s brother who set fire to Rashid ‘s harvest.

All feuds and differences, it seems, are created and propagated by work forces. It is here that adult females become a tool of award and dishonour and the rule mark of all patriarchal games. One such victim is the kidnapped Puro. In a peculiar traveling scene, she asks Rashid how she could perchance be held responsible for a offense her grand-uncle committed. Amidst the divider pandemonium, Lajjo was prey to similar calamity, as were 100s of other misss.

Particularly appalling is the scene where Puro is rejected by her household when she returns. The intolerant thought of the society is all excessively evident as the miss is asked to return to her kidnaper. Nothing is above household award and image. The determinations destiny makes are accepted without inquiry. In a certain duologue, Puro, after hearing the narrative of a pack raped miss, goes every bit far as stating that to be born a adult female is nil less than a expletive. The society is blindly barbarous to those with whom destiny is unjust. This attitude changes merely when the force becomes big graduated table and affects all. When Lajjo says that she can non return place out of shame, Puro tells her non to worry, since the divider atrociousnesss have opened everyone ‘s eyes. Peoples are accepting their kidnapped misss with unfastened weaponries.

It is besides evident that a alteration of general thought was besides underway at this point in clip, particularly among the immature, as is seen in Trilok, who is an fervent participant of political relations and is sometimes even scorned by his male parent for excessively back uping the Congress. Had he been present in the house when Puro had returned, he would certainly hold non allow her travel back. He kept the hunt for his sister alive boulder clay the really terminal. Ramchand is another enlightened young person. A school instructor, he believes all faiths to be one in kernel, and shows high morality in his willingness to accept Puro as his married woman even after her abduction.

While in Sakkadali, Puro sympathizes with a female hobo who roams the small town. She has developed an apprehension for social castawaies. Finally the hobo dies during childbearing as she conceives form colza. Puro adopts and raises the incapacitated babe but subsequently on is forced to give up the kid under force per unit area of the males of the small town council. They claim the babe since he is from a Hindu female parent and ignore Puro ‘s supplications to maintain the baby, doing it a affair of spiritual award.

Certain scenes of the film show that Hindu – Muslim agreement was non every bit unachievable as has by and large been perceived. In a pictured anti-partition presentation, the talker tells the audience that Hindus and Muslims have been populating in one state for decennaries and there is no ground why they can non go on to make so.

Another interesting character is that of the Muslim Rashid. After the unforgiveable wickedness he commits, his character unfolds as one of an basically merely and ethical adult male who is profoundly in love with Puro. When his farm is burnt down by her brother, he refuses to take retaliation understanding that the act was merely a reaction to a wickedness he has committed. He pleads in forepart of the Hindu seniors to maintain the kid his married woman has raised and agrees to salvage Lajjo in an effort to derive regard in the eyes of Puro. This shows that despite the widespread communal hatred many work forces were troubled by their scruples and were capable of doing moral determinations.

The film depicts the injury of immature Puro with extreme truth, great sum of recognition traveling to Urmila Matondkar ‘s first-class playing. Her character represents an doomed partition-era female. She plays the complete adult female, being girl, sister, married woman and female parent. However she ne’er accepts her matrimony or her life. She is a skeleton, a ‘Pinjar ‘ , bing but non life.

The flood tide of the film shows Puro being offered credence back to her household which she dramatically rejects. As to why she did so, that has been left a semi enigma for the spectator. We may presume that that Puro renders basically feminine behaviour, finally larning to love her hubby. She could non rally the bravery to be disloyal to a adult male who had been a good hubby for so long. Puro found consolation in delivering Lajjo and is likely incapable of farther turbulences in life. She has a hubby, a place and is content. She knows where she belongs and her life at this point is beyond fix.

On a lighter note, the film has attractively portrayed the bond between parent and kid and amongst siblings. The right to the imposts, rites and beliefs of that peculiar clip has been efficaciously illustrated. The simpleness and familial chumminess of that eon are nil less than charming.

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